Extra Credit Event 2 - What's Wrong with Fat? Author Meets Critics

(Figure 1 Me in front of the room)

For my second extra credit event, I attended What’s Wrong with Fat? Author-Meets-Critics on December 6^th, which was held Royce 314. The purpose of this event was for author Abigail Saguy and critics, Bianca Wilson, Tamar Harwich and Ed Walker to discuss Saguy’s book, What’s Wrong with Fat?.  Since this event did not go into great detail about the books plot, I did some research online. What’s Wrong with Fat?  looks at how obesity has become framed as a public health crisis which has been blown out of proportion. “Saguy says that when we talk about an obesity epidemic we assume moving non-obese to obese is like moving from health to illness”, according to Detrick.

(Figure 2 Me at  the Conference Room)

Although the relation of this event to art is clear, I was a little lost on its connection to technology at first. However, I eventually realized that it is not the event that relates to technology, but the book itself.   A large portion of this book is devoted to a study of the media and its thirst for sensational headlines about an impending epidemic, and although the headlines may be dramatic they offer little knowledge about healthy living. 

(Figure 3 Conference Room)

Throughout the evening, three critics discussed Saguy’s book, and offered many examples from the book where Saguy successfully addressed the issue about the difficulty of talking about fatness, the way being fat is framed as a problem, and the potential for removing the stigma. However, after listening to the critics for a while I realized that they were not necessarily “critics”, but people describing the book in a different perspective. Although some people may find it dull listening to people talk about a book, I was surprised at my level of interest throughout the event.  Since each critic offered a unique insight on the book, I was constantly kept drawn in. 

Works Cited

Detrick, Paul. "UCLA Professor Abigail Saguy on What's Wrong with Fat?." reason.com. Reason Foundation, 18 Mar 2013. Web. 13 Dec 2013. <http://reason.com/reasontv/2013/03/18/ucla-professor-abigail-saguy-on-whats-wr>.

Figure 1. Sanders, Leigh. Me in front of the room. 2013. Photograph. n.p. Web. 13 Dec 2013.

Figure 2. Sanders, Leigh. Me at the Conference Room. 2013. Photograph. n.p. Web. 13 Dec 2013.

Figure 3. Sanders, Leigh. Conference Room. 2013. Photograph. n.p. Web. 13 Dec 2013.

Extra Credit Event 1 - What Comes to Mind: Memory Traces|Engrams from The Anatomy Lesson by Joyce Culter-Shaw

(Figure 1 Me at the "What Comes to
Mind" Exhibition)

For my fourth event, I went to the Art|Sci Gallery in CNSI at UCLA on December 5^th, where “What Comes to Mind: Memory Traces|Engrams” from The Anatomy Lesson by Joyce Culter-Shaw was held. According to the pamphlet, The Anatomy Lesson, started in 1990, “explores the human life cycle from birth through death as well as our primary structure, skeleton, and at the research frontier, the brain, particularly the complex phenomena of memory”.  

(Figure 2 Memory Traces/Engrams)

Walking through the gallery, I was immediately impressed by Cutler-Shaw’s arrangement of artwork. On the back wall of the gallery, Cutler-Shaw had several of her Memory Traces|Engrams lined up, with a typed up explanation next to them. Each framed artwork consisted of a photographed scene from her past pasted onto a profile of her face. For instance, two of the pictures included photography of her move to “The Middletowne”. Part of the description for those two pieces was, “The building had a doorman 24/7, which had advantages when dating. Years later I ran into the night doormen at another building in Manhattan. We greeted each other with affection”.  

(Figure 3 The Anatomy Lesson)

(Figure 4 The Anatomy Lesson
table set up.)

On the wall opposite to her Memory Traces|Engrams there was a table with 3-D paperwork designs from Cutler-Shaw’s The Anatomy Lesson.  Above the table was a large collage centered between four large images from The Anatomy Lesson. Each image was put together in the same fashion as Cutler-Shaw’s work from Memory Traces|Engrams. However, instead of placing images from her past in front of a profile of her face, she placed images illustrating human anatomy. Believing that the history of anatomy is a history of human representation, Cutler-Shaw wanted her images from The Anatomy Lesson to include a study of the history of anatomy.

(Figure 5 Cutler-Shaw's
work projected onto the
gallery wall.)

In addition to the images from Memory Traces|Engrams and  The Anatomy Lesson, Cutler-Shaw also used one of the gallery walls to project images from her work, and also utilized a computer to show a moving brain scan.

(Figure 6 Brain Scan.)

From the very beginning of walking into this gallery, I was constantly impressed at how well Cutler-Shaw merged art, technology, and biology into her pieces. I believe that her work truly lies at the intersection of art and technology and is the perfect embodiment of the type of art work discussed in DESMA.

Works Cited

Cutler-Shaw, Joyce. What Comes to Mind: Memory Traces|Engram from The Anatomy Lesson. 2013. Flyer. n.p. Web. 7 Dec 2013.

Figure 1. Gabriela, Cuevas. Leigh Sanders. 2013. Photograph. n.p. Web. 7 Dec 2013.

Figure 2. Cutler-Shaw, Joyce. Memory Traces/Engrams. 2013. Photograph. n.p. Web. 7 Dec 2013.

Figure 3. Cutler-Shaw, Joyce. The Anatomy Lesson. 2013. Photograph. n.p. Web. 7 Dec 2013.

Figure 4. Cutler-Shaw, Joyce. The Anatomy Lesson table set up. 2013. Photograph. n.p. Web. 7 Dec 2013.

Figure 5. Cutler-Shaw, Joyce. Cutler-Shaw's work projected onto the gallery wall. 2013. Photograph. n.p. Web. 7 Dec 2013.

Figure 6. Cutler-Shaw, Joyce. Brain Scan. 2013. Photograph. n.p. Web. 7 Dec 2013.

Event 3 - The Hammer Museum

(Figure 1 Me in front of the
Hammer Museum Welcome desk.)

For my third event, I attended the Hammer Museum on November 26^th.  Through its exhibitions, collections and programs, the Hammer Museum emphasizes art work of our time, but still explores the diversity of art through the centuries.

(Figure 2 Mark Leckey, 
Transformer
 2012. LED Screen)

After touring around the museum for several hours, I could definitely see the modernity of many of the exhibitions. Perhaps the most diverse and modern exhibition I saw would have to be On Pleasure Bent by Mark Leckey, which encompasses sculpture, sound, film, and performance. By drawing on his personal experience, Leckey frequently uses ideas of his personal history and desires in his art work. By utilizing technology On Pleasure Bent attempts to form a “kaleidoscope memoir” of Leckey’s past from the “imagery that he believes conditioned him”. Walking into the exhibition I was immediately drawn in by this loud noise coming from behind some doors. However, the noise turned out to be a video exhibiting a teaser for a film coming out about the On Pleasure Bent exhibition.  In addition to the video, the exhibition also included LED screens featuring looped animations, one of which appeared to use a multitude of purple LEDs to create a moving shadow of some creature.

(Figure 3 Francisco José de
Goya Lucientes, El Pelele 
(The Strawman), 1791.

Although the Hammer Museum seems to specialize more in art of our time, I did happen to find a few older paintings where I noticed mathematics playing a role within the piece. For instance, the El Pelele (The Strawman) by Francisco José de Goya Lucientes painted in 1791 utilized certain mathematical tools to focus attention on certain areas of the painting. The artist’s light touch painting was meant to highlight the pyramidal form composed of the five figures. By placing the four women at the base of the triangle, focus was drawn in to the straw man’s head serving as the triangles apex. Focus is then further drawn into the straw man’s vacant eyes by limply splaying the straw man’s torso and legs at an angle to the picture plane.

After a few hours spent at this museum I was impressed at how all the pieces of art, exhibitions and collections complemented each other. Even though some exhibitions were complete opposites, I still felt everything was harmoniously brought together and I never felt a certain piece didn’t belong. I would highly recommend this museum if one wants to see how technology and art can come together. 

Works Cited

Figure 1. Unda, Maria. Leigh Sanders. 2013. Photograph. n.p. Web. 3 Dec 2013.

Figure 2. Leckey, Mark. Transformer. 2012. Photograph. n.p. Web. 3 Dec 2013. <http://arttattler.com/archivemarkleckey.html>.

Figure 3. José de Goya Lucientes, Francisco. El Pelele (The Strawman). 1971. Painting. n.p. Web. 3 Dec 2013. 

Leckey, Mark. On Pleasure Bent. 2012. Flyer. n.p. Web. 3 Dec 2013.

Event 2 - Typhoon Relief Benefit Show Hosted by the Pilipina/o Community of UCLA

(Figure 1 Me at the benefit show with 
the interactive Philippines Map)

For my second event, I attended the Typhoon Relief Benefit Show on November 22^nd in the Covel Grand Horizon room. The benefit was hosted by the Pilipina/o Community of UCLA and intended to raise awareness and money for Typhoon Haiyan/Yolanda that hit the Philippines on November 8, 2013.  

According to the flyer promoting the benefit, Typhoon Haiyan/Yolanda was “the largest typhoon to hit the Philippines and other parts of Southeast Asia with unprecedented force, leaving many without food and shelter, and killing over 3,500 people.” In order to bring relief to the typhoon victims, the Pilipina/o Community of UCLA offered several ways one could help. Although monetary donations were the most highly recommended because donations could provide the fastest and most direct relief, the Pilipina/o Community of UCLA also suggested that just attending their benefit show, accepting their flyers on Bruin Walk, or donating clothes, blankets and shoes could greatly help their cause.

(Figure 2 A Picture from the
beginning slide show showing
the damage of the typhoon.)

Walking into the benefit show, I was immediately impressed by the professional set up and organized seating. From start to finish, this show kept me thoroughly interested in their cause. Even before the show started, pictures of the typhoon disaster where projected up to educate everyone who attended.

Although the performances helped lighten the mood, they were still effective in educating me and still managed to shed light on the serious matter at hand. Each act was meant to show case the Philippian culture and bring attention to the victims of Typhoon Haiyan/ Yolanda.

(Figure 3 The Hawaii Club
Performance.)

Throughout the show I saw how art and technology came together to help bring relief to the Philippines.  Each act was artistically different and several even utilized technology to showcase their talents. The acts ranged from performances from the Hawaii Club of UCLA to singing songs dedicated to the victims to a Philippian Dance known as Tinikling. At the back of the room there was even an interactive map of the Philippines where people could place a sticker of where their families live.

(Figure 4 An act dedicating his
song the Philippines.)

This benefit was truly not what I expected. I was surprised at how educational and well put together everything was. The hard work and dedication of the Pilipina/o Community of UCLA was astonishing and inspiring. 

Works Cited

Figure 1 .Cuevas, Gabriela. Leigh Sanders. 2013. N.d. Photograph. n.p. Web. 2 Dec 2013.

Figure 2. Sanders, Leigh. A Picture from the beginning slide show showing the damage of the typhoon. 2013. N.d. Photograph. n.p. Web. 2 Dec 2013.

Figure 3. Sanders, Leigh. The Hawaii Club Performance. 2013. Photograph. n.p. Web. 2 Dec 2013.

Figure 4. Sanders, Leigh. An act dedicating his song the Philippines. 2013. Photograph. n.p. Web. 2 Dec 2013.

The Pilipina/o Community of UCLA. Typhoon Relief Benefit Show. 2013. Flyer. n.p. Web. 2 Dec 2013.

Event 1 - Gareth Walsh Exhibition: DOW JONES – A SOLFÉGE ECONOMY

(Figure 1 Me at the Gareth
Walsh Exhibition with the artist in
background.)

For my first event, I attended the Gareth Walsh Exhibition in the Art|Sci Gallery of CNSI right on campus. The exhibition was held on October 31^st and exhibited Walsh’s DOW JONES—A SOLFÉGE ECONOMY.

Immediately walking into the gallery, I was fairly overwhelmed with the cramped, dark and loud room.  On the wall there was three high-definition televisions placed next to each other showing people in business attire signing different notes. However, after the artist was done examining everyone’s initial reaction, he began to explain his piece.

(Figure 2 DOW JONES –
 A SOLFÉGE ECONOMY.)

Walsh explained that this signing portrait is meant to represent the United States Stock Market and Economy. He further explained that the portrait is in real-time and each business person represents a different stock. Every time a high note is sung by a person, the particular stock they represent has went up, and each time a low note is sung the stock has gone down. By creating “a continuous sound of economic highs and lows” the DOW JONES—A SOLFÉGE ECONOMY exhibition is meant to interpret the “fluctuations in share values from companies in the Down Jones Industrial index”.

(Figure 3 Gareth Walsh)

According Walsh’s web page, his work is “informed by direct experience and an on-going curiosity towards human perception, technology and art”.  This ongoing investigation into the comprehension of art in relation to other things allows Walsh’s work to question the boundaries of perceived reality.

Although at first this exhibition seemed rather boring and a little confusing, after listening to the artist speak about his work I finally began to appreciate the signing portrait. While listening to the continuous sound of high and low notes from different stocks, I really began to feel inseparable from the piece. Even though the piece really only did one thing and may be considered repetitive after a while, for some reason the differing notes kept me intrigued. I felt that I was actually experiencing the highs and lows of the stock market. Although I believe this was just a one-time exhibition at UCLA, I would highly recommend viewing one of Walsh’s exhibitions. 

On a side note, the dark room made my pictures turn out horribly, so I had to find some online pictures to show you guys. 

Works Cited

Figure 1. Cuevas, Gabriela. Leigh Sanders. 2013. Photograph. n.p. Web. 2 Dec 2013.

Figure 2. Walsh, Gareth. DOW JONES – A SOLFÉGE ECONOMY. 2013. Photograph. n.p. Web. 2 Dec 2013. <http://users.design.ucla.edu/~gwalsh/gareth-walsh.com_v2/templates/Dowjones.jpg>.

Figure 3. Gareth Walsh. 2013. Photograph. UCLA Design Media ArtsWeb. 2 Dec 2013. <http://dma.ucla.edu/_content/global/headshots/walsh_gareth.jpg>.

Walsh, Gareth. "Gareth Walsh." UCLA Design Media Arts. UCLA Design Media Arts. Web. 2 Dec 2013. <http://dma.ucla.edu/faculty/profiles/?ID=84>.